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Who Is Ryan Atwood? Social Mobility and the Class Chameleon in Th Who is Ryan Atwood? Social Mobility and the Class Chameleon in Th... http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/45/22 The Looking Glass : New Perspectives on Children's Literature, Vol 11, No 1 (2007) HOME ABOUT LOG IN REGISTER SEARCH CURRENT ARCHIVES ANNOUNCEMENTS Home > Vol 11, No 1 (2007) > Bullen Font Size: Alice's Academy Who is Ryan Atwood? Social Mobility and the Class Chameleon in The OC Elizabeth Bullen Elizabeth Bullen lectures in Literary Studies at Deakin University's Warrnambool campus. She is currently a co-researcher on a research project on representations of social class in recent children's literature and the implications for citizenship. In the first season of the Fox television series, The OC (2003–2004), a teenager from the wrong side of the tracks finds himself in wealthy Newport Beach, Orange County — the OC of the title. Rescued from an implied future of juvenile delinquency, 16-year-old Ryan Atwood is at first perceived to be a threat to this world of luxury, ostentation and conspicuous consumption. Over the course of the season, Ryan is able to win the heart of rich girl-next-door, the troubled Marissa Cooper, and, it seems, transcend his class origins. According to Tim Goodman, the plotline of creator Josh Schwartz's series distinguishes it from earlier teen dramas like Beverley Hills 90210 and Dawson's Creek and avoids the clichés of the genre. In many respects, however, Ryan is living another cliché, the American Dream, his social ascendency suggesting that success is possible regardless of one's start in life. In fact, this ideology disguises the reality of social inequality and the way in which it militates against equal opportunity. As media scholar, Linda Holtzman, explains, the pervasiveness of the American Dream leads some Americans to believe that the United States is a "classless society" (99). However, social mobility is implicit in the American Dream since it is very much about leaving one class location for another, more desirable, station in life. From this point of view, the way in which The OC portrays those who can and cannot ascend in the class hierarchy, and the resources that aid or assist them in their progress, is worthy of investigation. Indeed, it is worthy of investigation for reasons beyond the merits or not of this particular television series. Firstly, class has languished as an area of critical analysis in children's literature, particularly in relation to contemporary texts. Writing in 1993, Ian Wojcik-Andrews described "the absence of a sustained class analysis in children's literature criticism [as] surprising" (114). Notwithstanding Jack Zipe's Marxist analyses of children's texts and culture as apparatus of capitalism, this state of affairs has not changed significantly, perhaps reflecting the fact that class has become an area of neglect in literary studies more generally. Consensus on the reason for this appears to be that the so-called "cultural turn" in social theory and the rise of postmodernism created a shift away from understandings of class and class inequality as systemic phenomena, integral to the structure of the political economy. Instead, the focus has been on subjectivity and identity politics. Secondly, there are parallels between this theoretical and critical focus on the individual and the increasing individualization of social life. In his analysis of contemporary society, German sociologist Ulrich Beck argues that social problems formerly attributed to class inequality are now "transformed into ... personal failure" and "are perceived as social only indirectly and to a limited extent" (89). This creates a tendency to understand social problems in terms of personal dispositions or inadequacies. There are resonances here between the broader global social trends Beck identifies and the American Dream. After all, the corollary of the notion that anyone can achieve success is that one is also responsible for one's failure to succeed. Both phenomena make the barriers to success invisible and this ideological convergence leads to my third point. As a global technology of socialization, US television texts shape the young's understanding of social norms and expectations. Given that The OC has a worldwide audience and, according to Nielsen polls, 1 of 6 28/05/2009 10:47 AM Who is Ryan Atwood? Social Mobility and the Class Chameleon in Th... http://www.lib.latrobe.edu.au/ojs/index.php/tlg/article/view/45/22 was among the top three most watched TV shows for 12- to 17-year-old girls and boys in the US in 2004, the tenor of its representation of class is of some significance. Class is not simply a socio- economic ranking based on material assets, and social mobility cannot be guaranteed by equal access to them. In practice, class ranks the value of individuals and groups according to their dispositions and lifestyles and creates prejudices for and against certain class cultures. Prejudice is as much an obstacle to social mobility as low income, lack of education, inadequate housing and health care, and other forms of disadvantage. At stake in the representation of class in children's and young adult texts, then, is the extent to which they endorse or disrupt assumptions about the worth of individuals and communities relative to their class, and thus shape readers' and viewers' attitudes to themselves and their class 'others'. The main focus of this analysis of The OC is the characterization of Ryan and the qualities that allow him to move from his underclass roots in Chino into Newport Beach society. However provisional and precarious his status within the community may be, it is clear that the gates of this elite enclave are not open to all-comers. This raises the question of the traits the series promotes as facilitating social mobility, particularly in the way they are inflected by masculinity. What is it about Ryan that allows him to move between what the series explicitly and repeatedly describes as two very different worlds? To answer this question, this paper focuses on the first season (the fourth season of The OC was screening at the time of publication) and draws on French sociologist and philosopher Pierre Bourdieu's social theory. Bourdieu's work has informed research on the production and consumption of children's texts. However, his model of class, which suggests that class location is relative to not only economic capital, but non-economic forms of capital, has been little used in children's and YA literature criticism. This paper evaluates the types of symbolic, cultural and social capital facilitating Ryan's rise and explains these concepts in the context of the textual analysis. On the surface, The OC appears to promote the possibility of social mobility and, at the same time, to acknowledge the obstacles. The pilot episode begins with Ryan and his brother, Trey, being arrested for attempting to steal a car. As a result, Ryan is thrown out of home and this sequence of events proves to be the catalyst for his entry into the Newport Beach community. With no-one to turn to and nowhere else to go, Ryan calls Sandy Cohen, a public defender, who takes in the boy, in spite of the resistance of his property developer wife, Kirsten. This first episode establishes the basis of the friendship between Ryan and the Cohens' son, the geeky Seth. It is also the occasion of Ryan's first meeting with Marissa. They encounter each other on the sidewalk outside the Cohen's house where Marissa asks him who he is. He replies, "Whoever you want me to be" (Episode 1.01).[1] This is more than a throwaway line, the irony being that when Ryan goes on to tell the truth about how he has come to be there, Marissa does not believe him and assumes that he must be a visiting relative of the Cohens. The notion that she should be having a conversation with a young felon is entirely improbable to her and she is not the only one in Newport society to make this mistake. Much of the drama in the first episode centres on the revelation of Ryan's origins in Chino and how it alters the way the Newport social set views him. Indeed, the first season draws repeated attention to the stigma of Ryan's class origins in order to foreground the operation of class discrimination and class stereotypes. For instance, Marissa's best friend, Summer, describes Ryan as a "brooding bad boy" (Episode 1.04); Marissa's mother, Julie Cooper, attributes the series of violent events which unfold in the first seven episodes to Ryan's delinquent influence, telling him that "In addition to stealing cars, burning down houses and befriending would-be assassins, you've almost killed my daughter" (Episode 1.08). Sandy subsequently points out to Ryan, "You are always one mistake away from someone taking you away from us" (Episode 1.09). It is clear that because of his class origins, Ryan does not enjoy the opportunities available to the teenagers of Orange County, including the luxury of making mistakes. The series goes to some lengths to expose the injustice of this. The judgements which Julie Cooper makes about Ryan are based on circumstantial evidence and ignorance of facts to which the viewer is made privy. One of the predominant filmic strategies in The OC is parallelism and it is used to draw viewers' attention to the double standards in the perception of the difference between class cultures. Thus, Ryan's delinquent act of car theft parallels Jimmy Cooper's white collar crime and daughter Marissa's petty theft.
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